Bleak House review by Finn Boyle

Bleak House review by Finn Boyle

Charles Dickens is a peculiar, and often difficult author to adapt. His tone ranges from childlike and optimistic (as in A Christmas Carol) to dark and Kafkaesque (as in A Tale of Two Cities) sometimes even in the same story (Oliver Twist). Any artist who even dreams of tackling the works of one of the UK’s greatest writers must first prepare themselves for the tonal balancing act lying on the horizon. Therefore, it is with both pride and admiration that I write that the Ensemble managed to not only successfully adapt Dickens’ Bleak House, but did so with finesse and honours.

​The initial tone was set as the audience was led in to their seats: performers walked around, in costume, acting like members of the Victorian-era working class – complete with swearing, yelling and more shagging than an old carpet. The audience was made to feel like they had just entered the streets of London circa 1852, with both the humor and discomfort that entails. In this aspect, the dramaturgy was spot on in its efforts of immersion. Its one area of falter, which I feel the need to point out, came through the use of an intermission. This isn’t so much a criticism as much as it is an open question about immersion: why go to such lengths to immerse an audience when that immersion is going to be broken by an intermission? Granted, the play is long – and intermissions prove invaluable in long plays – and the pre-play made the experience richer than it could have been, but it is still a nagging issue in terms of directorial consistency.

​However, such a minor nitpick doesn’t detract from the dramatic direction employed in the performance. There is a maxim in cinema –attributed to Stanley Kubrick – all directors are told to strive for: “Every frame a painting.” The meaning is self-evident. The Ensemble managed to achieve this perfectly via Bleak House’s use of scaffolding. Construction scaffolding dominates the stage, dividing it into nine boxes; three at the top, three at the bottom, and three below the bottom. This division allowed for fantastic framing and visual explorations of both class and moral divides. A sense of awe filled the room as actors scurried to and fro and up and down and side to side and out and in above and below from darkness to light. Proud and powerful characters would glare down from the top of the scaffolding while deprived and destitute characters would cower on their bellies below the bottom most planks whilst the lighting would frame them as if they had stepped out of a Victorian painting.

​Little can be said about the acting, because little needs to be said. It’s superb. The cast managed to bring to life Dickensian machinations whilst simultaneously giving them a little bit of DGE flavor, as can be seen in the scene wherein three people represent the tenets of the Church (Faith, Hope and Charity), with Faith going on a racist diatribe about African children, Hope being sickly and complaining, and Charity masturbating maniacally. The actors’ subtleties and characterizations, much like the direction, walked the line between comedy and tragedy with flying colours, bringing to life this Dickensian-postmodern lovechild.

​The Ensemble’s performance of Bleak House at Bath Spa University was, all in all, masterful in its execution of Dickens’ beloved morality tale. Through its brilliant direction and outstanding acting, Bleak House manages what few Dickens adaptations do: a faithful, yet unique, performance of the great writer’s work.

Photograph curtesy of Robert Golden.

Melodrama in Bleak House by Simon Gleave (Tulkinghorn)

Melodrama in Bleak House by Simon Gleave (Tulkinghorn)

Once we received our playground: the scaffolding that comprises Bleak House, it suddenly felt like being in cinematic frames, both individually and collectively. A two-tiered structure that is both stable and skeletal, modern and period, monumental and fragmented. The opportunity for counterpoint and complex ensemble imagery became enormous. At the top it is precarious and the act of balance (together with the anxiety it induced) is equally to the triumph of scaling those heights. In a similar sense to circus’ capacity to impress simply because of the scale of its physical feats – people climbing and falling, the empty air performers spread into – here, the metaphor is physicalised on the social and symbolic level of Dickens’ story. Tulkinghorn becomes like a spider or panther scaling the frame of these poor people’s circumstances, and the scaffold becomes like the cage of the law itself.

Melodrama is an underused, misunderstood term, I’ve come to realise. First of all, it’s all around us (I watched 4 films last week which were all undoubtedly melodramas); secondly, as a culture we’ve derisively banished the original form to victorian theatre and early cinema as a sentimental, exaggerated, false style. Psychological realism has replaced the art of gesture with the art of neuroses or jaw tension.

What I studied at Lecoq were the basic principles of devising melodrama: that which moves us to tears, heightened emotion to a point where it could be sung, sacrifice for the sake of another, devastating departure and a return many years down the line, the elastic relationships which connect all families and communities, and the great social dark matter (pollution, bureaucracy, government control, the law) which threatens the personal ties of a community. All of this seen through the eyes of a narrator who is both inside and outside the action, moving from naivety to experience.

Evidently, all of these elements are in Bleak House (almost to an extent where it’s as if the principles of Lecoq’s pedagogy draws water directly from Dickens). Since the melodrama is so strong, one imagines it would be fairly simple (even sensible) to serve the story in terms of psychological realism… it’s what the BBC would do. Instead, we are physically and emotionally engaged in discovering the style of melodrama as it exists (or existed) formally, something which takes a different time scale and which is often danced. Much of our studio research has been in the language of gesture, conveying our emotional lives on the scale of the melodramatic stage or silent Gothic cinema.

Photograph by Robert Golden.

DAVID GLASS IS A BASTARD!!! Week 2 of Bleak House rehearsals by Derek Elwood.

DAVID GLASS IS A BASTARD!!! Week 2 of Bleak House rehearsals by Derek Elwood.

He’s cut most of my lines! Then he cuts even more! “We don’t need them”, he says. “Too much exposition”, he says. What about me? What am I meant to do now? “You can sit there, in your own tableau, while everyone else performs around you.” The audacity of the man. And I still look knackered!

But none of that, none of that, compares to what he did to actress Penelope Dimond (There’s no “a” as it’s French). He wanted her to ‘get all physical’ so he decides to throw her off the top floor of the set! On hearing this Ms Dimond, actress and cat lover, of Primrose Hill, London remarked, “(to be said with wide open eyes and in a coquettish, heightened RP voice) But David, darling! You can’t be serious! You don’t really expect me to jump off from up here?! I get vertigo! And it’s awfully hi – !” But Ms Dimond said no more as, with a helping shove from the Ensemble, she was sent hurtling over the side of our precipice of a set and was last seen heading down down down, in a swirl of petticoats and tousled hennaed locks.

And I thought to myself what is going to happen next?

Storytelling. That is what happened next. Devising. Creating. Storytelling.

Grab the audiences attention. Make a bold statement – ‘he’s a BASTARD!’ It may be wrong but things can be changed. Begin to understand the psychology of your characters – ‘What about me!?’ ‘You can’t be serious?!’ Show physically their inner turbulent emotions, passions and needs – ‘Still look knackered.’ ‘Tousled petticoats.’ Dialogue is written, edited, said, learnt, re-written, re-said and re-learnt. Images, tableau, fixed points and sequences are created, deconstructed, remade and reordered. Scenes begin to take on a life of their own as we, as a group, discover new voices, walks, intentions, impulses, laughter, trust and the understanding of the story we are trying to tell. The story comes first and the ensemble takes shape.

It has been a very busy week and everyone is tired. But we are also well into the second act, the set has just been painted and we have got a day off on Sunday. So all is good. And as for Penny, well, let us just say that with a lot of time, support from the Ensemble and with a gentle coaxing from David, Ms Dimond was descending from one floor to the next with a flourish and a smile. She even gets to have her own little dance too.

Oh, and lastly, I don’t really think David Glass is a bastard. I think he’s a Sagittarius!

Élan, Alfalafels and Ensemble.  Bleak House blog by Aimee Pollock.

Élan, Alfalafels and Ensemble. Bleak House blog by Aimee Pollock.

I’m so happy to be back in Bath again! It has been just under two months since I graduated from Bath Spa University and I’ve missed this beautiful campus and of course, the city. Bleak House is my first professional job out of Uni and there is a real safety in rehearsing in the place I just spent three years training in; it’s familiar and I‘m comfortable in these surroundings. Although, I don’t feel like a student anymore! David said, “the first few rehearsals are like the beginnings of a new relationship” and it’s very true. It’s delicate, exciting, and full of so much potential…
During the first week of rehearsals we have focused a lot on ourselves, especially during the morning class work. We start always with the body, connecting with a deep sense of self, and from there the ensemble is naturally emerging. I can feel us being pulled together organically, which is interesting when we come to do scene work, because I can see how the relationships between characters are developing with such detail and sensitivity.

This my first time exploring melodrama, and I feel so immersed in this vivid, impassioned world! There are so many layers that must be woven together. It really does feel like we are making a film for theatre, except we don’t hide the magic behind the camera, it is all out in the open for the audience to see. It’s amazing how melodrama can go from one extreme to the other. One scene can be utterly grotesque, absurd, hilarity but then shift into tender, emotional heartbreak. Whether its huge ensemble moments or simple story telling between two characters, it is always compelling. I have realised how technical melodrama is. It requires specificity in every movement and gesture, otherwise it all becomes generalised and the style is lost. Something as small as moving the eyes or the hand can be just as powerful as moving the entire body if its specific. It often feels like a series of cues which different emotions are bursting out of. If you take away the words it should feel like you are watching a silent movie. Penny gave me a few silent movie suggestions – my favourite so far is Lilian Gish in The Wind.

We also focus a lot on élan (the French word for ‘life-fullness’) and how it needs to be continuous all the time. If you listen to the élan of the scene when you enter you can pick it up and continue with it, passing from one actor to another. The rhythm of the story is very important and if dropped, is very noticeable. I can really see the ensemble starting to find the rhythm, nothing feels forced. We just have to listen to one another.

I have learnt so much already, in a short space of time. These are just some examples that have really made an impact on me this week;
– Don’t have taste, be truthful.
– You don’t have to prove anything. Just work with the language and the situation.
– Fail all the time in rehearsal. (It’s always good to be reminded of this. Out of failure you can find new discoveries).
– Frame the noun. Punch the verb. Stroke the adjective.
– In theatre, you should: misbehave, not be polite, go for it, sweat, and spit everywhere.
– You must start where you are. Don’t think about where you want to end up. We will get there.
– We are made up of our past experiences, they live with us in the present but we are being pulled into the future.
– The plot is the spine of the story. Each scene is the vertebrae all being held together. The story is the main character and we are there to serve it, to bring it to life for the audience.
– It’s all a game. The audience want to be manipulated. They want to be entertained, to discover themselves, to forget reality and be taken on a journey. It’s a constant roller-coaster of making them think and feel, think, and feel. Never relenting.
– The best inspirations for melodrama are babies and animals!

Finally, it is such a joy to be surrounded by generous, brave, vulnerable creative people. It’s an empowering environment to be a part of and it already feels as though we are creating something very special. Not only is it important to have group discussions during rehearsals to reflect on our experiences, and remember always that we are learning, but to spend time with each other outside of the rehearsal room. Building the relationships between ourselves help to form stronger connections within the ensemble. Which is exactly what we did on Saturday night… Prinks followed by a night at The Common Room which ended up in Alfalafels. Because it’s not a proper night out in Bath unless you end it there!

Tickets can be bought HERE

Bleak House rehearsals from the inside

Bleak House rehearsals from the inside

Blog by Derek Elwood, Lord High Justice in Bleak House.

After our Saturday morning warm up exercises, and before rehearsal began, Gavin, our lovely and remarkably thorough Assistant Director remarked, “(to be said in a Welsh accent) I liked watching Derek. During that last exercise he looked absolutely exhausted, as if he’d completely given up. It was really funny to watch!” A couple of hours later I had a chance to reflect upon these words as, mid rehearsals, I sat amongst the debris of the set, drenched in sweat, covered in masticated biscuit crumbs, copious amounts of mud and having done certain bodily movements which had tested my 52 year old’s core strength to it’s limits. And I thought “looks can be so deceiving”. Like a turning chair that becomes a speeding carriage that becomes the rolling fog that becomes the on coming emotional storm. There are many layers in both David Glass’ rehearsal process and Charles Dickens’ story telling. There is so much to explore. No wonder I look knackered. The morning warm ups are somewhat energetic, rehearsals can be tiring but giving up, not yet, no. I’m having the time of my life. Bring on week two!

Book tickets HERE

AB Project and Charlottesville

AB Project and Charlottesville

Blog written by Finn Boyle

Umberto Eco closed his immortal and resonant essay Eternal-Fascism by declaring; “Ur-Fascism is still around us, sometimes in plainclothes. It would be so much easier for us if there appeared on the street somebody saying ‘I want to reopen Auschwitz’… Life is not that simple. Ur-Fascism can come back under the most innocent of disguises. Our duty is to uncover it and point the finger at any of its new instances – every day and in every part of the world.”

​What Eco means by ‘Ur-Fascism’ is the potential, almost-fascism that exists in every society and epoch, the kind that resides “in plainclothes”. It’s often difficult to fight Ur-Fascists, physically or otherwise, simply by virtue of the fact that one could say ‘but they’re not real fascists!’, as if the only qualifier for being bad is being a Nazi.
​This protection-by-No-True-Scotsman has allowed Ur-Fascist groups to grow and Ur-Fascists to become increasingly prominent in recent years. Ur-Fascism could be seen manifest in Anders Behring Breivik in July of 2011, and in the events in Charlottesville, Virginia, in August of 2017.
​But, unlike Breivik, it wasn’t the demonstrators and white nationalists themselves who embodied Ur-Fascism. They were proud and open Nazis, “real” fascists. No, Ur-Fascism could be seen in the reactions outside of Charlottesville. Ur-Fascism could be seen in the media and government officials who tried to deflect blame from the (I feel the need to stress this) literal Nazis to the counter-protesters; the victims of the Nazi violence.
​Ur-Fascism could be seen in the White House, when President Trump initially condemned “many sides” for the violence that occurred, only to eventually bow to pressure and specifically condemn the Nazis (only to then later renege and again blame “both sides”). Ur-Fascism could be seen in Breitbart, which quickly published articles claiming that the Governor of Virginia refused to condemn “leftist political violence” and that the organizer of the rally in question was an Obama supporting Occupy activist.

​The Nazis in question, a group called Vanguard America, are particularly relevant to the project due to their tactics. Nary a year old, Vanguard America’s members are young, with most reportedly in their early 20s. This is no accident; Vanguard America recruits predominantly from University campuses, searching for young, disenfranchised men in search of a purpose. Men who are, in our current socio-economic system, disposable.
​What Vanguard America has done with these men is a business transaction. They pledge to Vanguard America their loyalty and lives, participating in its so-called ‘cult of death’ and ‘contempt for the weak’ (hallmarks of Fascism and its Ur- counterpart), and in return, Vanguard America gives them something the modern world can’t – an identity.

​This is where the AB Project can act as a powerful force for good. For while Nazism and Ur-Fascism endow in their vessels identity, art does as well. The difference being that art doesn’t require death and subjugation. Rather than let these men become potentially dangerous to large groups of people, their minds twisted by hate and a fetish for power, they can be reached out to and made into that most dangerous of persons: artists.
​One of the reasons why Eco might’ve thought of Ur-Fascists and their ilk to be eternal is because that suits the Powers That Be. Far-right groups have always received less attention from governments simply because those far-right group’s ideology often hold that the current power structure must be maintained, by any means necessary. In that way, groups like Vanguard America are merely acting as an extreme extension of Washington, keeping down all those who pose a threat, especially the young and artists.
​One of the reasons artists are so threatening to traditional power structures is precisely the fact that many of their numbers include these young and disaffected men. And of course, one more artist means one less Ur-Fascist – one less soldier for the powerful. The AB Project, by actively engaging in themes of youth disenchantment, can directly threaten the powerful and engage in these at-risk people.

​I would like to refer back to the quote from Umberto Eco regarding Ur-Fascism. He is right, in that it is our duty “to uncover it and point the finger at any of its new instances”. When he said “our”, he meant all humankind. However, we, as artists, are in a unique position to combat Ur-Fascism. Because unlike those in the White House, we can actually do something.

AB Project begins in Canada

AB Project begins in Canada

AB Project: Revelstoke
Phase One

By Finn Boyle

 

​The abbreviation of Revelstoke’s province unveils its true character: BC. While the second and third letter of the alphabet technically stand for the Canadian province of “British Columbia”, in Revelstoke’s case it could also mean “Before Christ”. Revelstoke isn’t an anachronism per se, rather it’s confused as to what era it belongs to. It is simultaneously a frontier town, surrounded by dense forest and oppressive forest fires and an isolated 1990s murder village a la Twin Peaks, not to mention its diverse immigrant population spanning several continents making it a model post-contemporary society. It is, in more concise terms, an ideal place to develop the AB Project.

​The local theatre group in Revelstoke, Flying Arrow Productions, is one of the younger troupes the project has to offer. Discussing the group beforehand, David told me about a mature actress around the age of 12. Going in, I had expected this to be the exception, and not the rule. Never have I, in my short experience with the AB Project, been one of the oldest members in the room. While Flying Arrow does involve people of all ages in their various productions, the AB Project seems to have attracted a younger demographic. This observation, that the members are young, is not meant to disparage them: on the contrary, these are some of the sharpest and most mature young people I have met in a good long time.

​Having conversations with the devisers outside of Project hours displayed the creativity and sense of community that the AB Project requires. Discussions ranging from late-20th century politics to the use of the golden hour to gender and racial dynamics in modern society to (of course) the life of Anders Breivik, displayed the intellectual and artistic depth shared by the devisers. Their discussions of such topics outside of devising also presented the positive influence art and, in particular, Flying Arrow Productions has had on them. Walking amongst such an active and engaged group conjured the vision of a Utopian world in which all could think and act like those that surrounded me.

​The fact that the AB Project is being tackled by such interesting and artistic youth speaks wonderfully to its goal. Several of the Project’s key themes include youth opportunity and alienation. By engaging young artists such as those in Revelstoke, Flying Arrow is tackling the central thesis of the AB Project with a sense of praxis sadly lacking in much of the modern theatrical world.

Flying Arrow’s Founding Director and the AB Project: Revelstoke regional director, Anita, embodies the spirit of Revelstoke. She co-ordinates the workshop with a timeless, distant yet ever-present quality that fosters a great creativity: she is always there to help, but will take a step back to let the devisers continue unabated. One example is her “Astonishment” exercise, wherein she wrote the aforementioned word on a whiteboard and got the group to come up with events they found astonishing. Her input was direct, but she allowed the group to develop and devise autonomously, which in turn fostered teambuilding and independence. A friendly, safe and free atmosphere was created from her style – a typically Revelstokian style. This, in turn, lent the AB Project a distinctly Revelstoke flavor, aiding in its further development.

​If the AB Project, in its final phase, is to be an international youth play then it has to be just that – international. Revelstoke is the ideal place to begin the Project’s first phase, with its timeless quality and eclectic mesh of peoples. And its youth – sharp and irrepressible – set a high standard for the project to come. Flying Arrow Productions and the David Glass Ensemble’s combined efforts in Revelstoke, BC, present a fortuitous dawn of the next three years. And they couldn’t have picked a better place to begin. After all, as stated earlier, “BC” technically stands for “British Columbia”, but it is also the inevitable continuation of AB.

Gavin’s blog on life in Chengdu

Gavin’s blog on life in Chengdu

With two and a half months left before I return to the UK to work alongside David on Bleak House, I have become reflective of my time spent here on behalf of the Ensemble. Since arriving in Chengdu over 3 months ago, the staff at Marphy’s Play House and Marphy herself have been the most welcoming, warming and fun group of what I can now call friends. I have gained a family that I know I could return to anytime, and that is something quite special, humbling and unexpected of my time here.

Since March, I have been devising an adaptation of the Brothers Grimm, Hansel and Gretel. This has been a project I have been working on with the other teachers at the Play House. The aim is that from the end of this month they will be touring it around schools here in Chengdu, as well as conducting workshops to aid the children’s learning. These teachers have little experience in devising, so it goes without saying that this was a difficult task- yet they have all grown in confidence and have become positive risk takers. They understand that the story and the telling of it is the most important. Their skills are developing weekly and their dedication to their work is inspirational.

This week the older children I teach (9-11 year olds) got to perform Halibu, a story about the Mongolian nomads. Having only had 12 weeks and under 40 hours with them, it is phenomenal what they have achieved. When I started with this class, one of the children didn’t even want to perform! His (as well as everyone’s) progress has been huge, and he got up on stage and performed amazingly! His mum even said to me afterwards, “drama has helped him so much, he’s much more confident and positive now thanks to drama class”. Hearing that and seeing this growth myself has been a highlight of my time here so far.

I now move my attention to the 6-8 year olds performance of The Journey to the West and summer camp, whilst continuing my weekly classes at the weekends. It’s an understatement to say I’m busy – however as much as I am seeing others learn and develop, I too can feel a development in myself. I always thought I was a good listener, but my time here so far has taught me how to REALLY listen. How to listen to others needs and learning abilities, listen to cultural differences and understand how this effects our creative outlet and communication. I’ve learnt how constricted we are by TIME. Learning, development, growth, understanding, exploration and progress all takes time. When we teach or direct, time is our enemy – there is never enough of it!

However, what I now fully understand is that creativity is endless, as are our dreams. There is never a finished piece or project because there is no bottom or top to it. Creativity is continuous, creativity has no boundaries – that is why stories are retold, because it is different every time. When my time here comes to an end, I will be happy to have had my share of the story at Marphy’s Play House, and I will continue to stay in touch and watch on as the story and adventure continues to unfold here.

In light of the recent electoral results, the future is uncertain and we have witnessed many other crazy political movements, and not just in our own country. As a young artist I feel empowered to be part off the Ensemble, I feel as if my voice can be heard. But so can everyones, if you are feeling oppressed, frustrated or angry – get together, create art and theatre to express, if nothing else it will give you a voice! We are stronger together than apart!

– By Gavin Richards

Turin to Siena and back to London

Turin to Siena and back to London

I met Natalie Richardson and her husband Enzo after flying in to Turin airport on 7th September. Our aim was to create a Promotional video for Bleak House, a show I had previously been a part of at The Arts University Bournemouth and am now assistant producer for. Youth Empowerment is at the heart of the Bleak House project and it was for this reason that I was so enthusiastic about this project. I am excited to be working with Natalie who is teaching me what the role of producer includes. I learnt a vast amount in three short days from how to develop a realistic show budget to how to negotiate meetings with funding boards. We worked through the day and enjoyed Turin’s wonders during the evening. This lively place has the delights of warm evenings, amazing food and plenty of places to sit around together being creative.

After a five hour train journey I arrived in the beautiful place called Siena. The buzz of the city seemed to lend itself to the creative spirit. It was here I met with The Theatre Collective of Siena, a theatre group composed of roughly eight women who were directed by David Glass. This group were inspiring to watch, composing true beauty with the strength of the women’s form. I assisted David in production meetings where we discussed the future of the theatre group and how they could transform the out dated and repressive theatre system within Italy and internationally.

This trip was truly humbling, to work with such talented and kind performers and producers, the Italians showed me just how uncomfortably polite the English are and how we need to change this if we are to carry on being successful in theatre.

ENOUGH WITH THE STIFF POLITE THEATRE BRITAIN! Time to move on to real reality.

October Newsletter

October Newsletter

Fahrenheit 451

David Glass Ensemble (DGE) has begun it’s first co-production with East 15 Acting School on a contemporary theatre piece inspired by Ray Bradbury’s Fahrenheit 451. Featuring music by David’s cousin, Philip Glass, and rock music from the 1950s, the performance explores book burning and the death of culture. Associate Artist, Benji Reid will be doing a photo essay on the process and performance. The production is an Ensemble Incubation Project and we are looking to tour internationally in 2018.

Performer Emma Crowly-Bennett has said in her blog; “after the first week of rehearsals for Fahrenheit 451 my head feels like a a pan of bubbling soup, ready to boil over and fuck the lino flooring… I feel inspired, powerful and angry.” For the full blog visit the DGE Facebook page here.

Performances: 17th – 19th November 2016
Booking information

Event

David will be presenting the Ensemble’s work past and future on 26th of October (7.30pm) at Goldsmiths College, University of London, including The Lost Child Project and Bleak House.

DGE in Asia

Hester Welch has begun a six month contract in Chengdu with our partner in China, Marphy’s Playhouse. During her first month as Head Actor/Teacher she has been coaching the teachers to develop their understanding of creativity, drama and non-formal education. She has been using David’s Creative Practice, schemework created by Professor Joe Winston (University of Warick), as well as her own practice to teach children between the ages of 3 and 12 years. This month she begins directing a new performance installation for families, inspired by A Midsummer Night’s Dream, Abramović’s Rhythm 0 and Duchamp’s Etant Donne, in preparation for the opening of a new theatre at the Play House. For the full blog visit the DGE Facebook page here.

In November, Associate Artist Jonny Hoskins will be joining Hester in Chengdu to lead a week of Lecoq based training. This intensive course will focus on mask work and clown to provide an introduction to the teaching of the great theatre master, Jacques Lecoq. If you would like to attend, please email hesterwelch@davidglassensemble.org for more information.

More exciting events in China include a key note speech by David in Shanghai. The speech is part of the Alternity Festival at the China Art Museum on the 11th of December 2016.

New Team Member

Elisabeth Gunawan will be joining us as a Producer based in Singapore. In addition to her artistic work, Elizabeth serves as a Performance Lead at Google, working with small and medium businesses to be at the forefront of technology. We are lucky to have her on the team!

Bleak House

In December, International Producer Natalie Richardson and David Glass will be visiting 7 cities in Singapore and China to finalise the tour of Bleak House for Autumn 2017.  Back in Europe, Jade MCSharry has been working on the promotional video for Bleak House in Turin, Italy with Enzo Appetecchia and learning more about producing with Natalie Richardson.